The Artlab involves 22 months of rigorous research and experimentation between a ‘rapid response’ team of international ‘ecological health’ experts who are also practicing media artists, designers and engineers. The Sydney Artlab has investigated the Flying Fox relocation program to be undertaken at Sydney’s Royal Botanic Gardens and provided design solutions that depend on nurturing human / bat relations. These include the wonderful Botanic Garden Xtension at Barangaroo and the exhibition X.

The exhibition features works by Australian and international contemporary artists that respond to ecological concerns. It reflects the diversity of environmental debates and concerns within and beyond Australia today, and features works that address a spectrum of issues including sustainability and recycling. Artists include Amy Franceschini (Futurefarmers) and Joni Taylor.

Future Park is a two-part project involving a series of events that explore the instrumentality of urban parks in relation to social policy and the shifting economic, political and cultural structure to imagine a post-capitalist city. The first is a project titled ‘Teach Me to Disappear’ by Paul Elliman and Nicole Macdonald. At Casco projects.

With the inaugural exhibition Parkliv the Marabou park wish to activate the park context into which it's new gallery is submerged: its special landscape, history, future and its role as private and public space. Artists include; Kerstin Bergendal, Dominique Gonzalez-Foerster and Martin Boyce

"Nepotists, opportunists, friends, freaks and strangers intersecting in the grey zone is a project in which role defining, blurring and shifting intersect within and outside art. The mise-en-scène in Z33 becomes a mise-en-action, which addresses the presence, responsibility and potential actions of the artist, visitor or audience. In its form and structure, the grey zone challenges traditional presentation venues. The white or the black box becomes grey or coloured and is always changeable."

"Post-Oil Cities is a project created and directed by Lluís Sabadell Artiga within Híbrids 2.0 which investigates the relationship between human beings and their surroundings from an ecological point of view. In addition to POST-OIL CITIES, Híbrids 2.0 has open lines of research on Art and Ecology, Perception and Landscape and Architecture and Environment.

The project uses the capacity of visionary creativity to think, imagine and design our cities, regions and areas beyond oil (Post-Oil), generate a new imagination for the twenty-first century that will be a reference in the present."

Migrating Gardens is a collaborative project by Oda Projesi and Nis Rømer reflecting on the relation of micro-scale farming and migration. It is an investigation of why people move from one environment to another and how they manifest themselves in the city with their practices/professions from where they come from.
It takes place in the whole of October, with events, cycling tours and a free news paper that you can download here.

A series of temporary urban art interventions taking place in the City of Sydney.

Sydney, Australia

While Melbourne may be more known for it’s laneways, the City of Sydney has undertaken to temporarily transform eight laneways in Sydney´s CBD. Eight proposals were selected by Curator and urban designer Dr Steffen Lehmann. The proposed Laneways By George! 2009 - Hidden Networks temporary artworks are intended to be installed for the City of Sydney's Art & About event in October.

"Conflict Room is a dynamic, temporary platform for visual arts with an emphasis on different approaches around the nature of "conflict". The initiative is inspired on a video work by the Polish artist Artur Zmijewski : "Them"(2007), in which he sets up a situation where various ideological groups within Polish society are placed in a position where they can criticize, discuss and interact with each other.

CR has arisen from a group of people who responded to that idea by gathering artists and showing weekly exhibitions that raise questions and examine conflict in several ways over a period of 3 months."

An outdoor, free exhibition that takes place on the spactacular coastal walk between Bondi and Tamamrama Beach in Sydney. Entry forms can be downloaded directly from the site. Entries close April 20! The exhibition will take place from October 29 - November 15. A conference on "Sculpture in Public Space" will take place November 2. International entries welcome.

The New Domestic Landscape, MoMA 1972 brings together for the first time since 1972 the original documents and multi-media projections featured in the historic MoMA show curated by Emilio Ambasz. The current exhibition focuses on the 1972 Environments section, which has been installed in the MoMA galleries. Each of the Environments, created by a different Italian architecture studio or design group, was accompanied by media projections, audio-visual displays, or interactive events. The historic importance and contemporary relevance of INDL is in part due to how the exhibition encountered and attempted to reconceive the visionary possibilities of design and architecture: domestic in scale, urban in context, and potentially revolutionary in social and political practice."

April 9- May 30, 2009
In 2007 Lord Cameron of Dillington, first head of the Countryside Agency, famously remarked Britain was ‘nine meals away from anarchy.’ Our food supply is almost totally dependent on oil (95% of the food we eat is oil-dependent) and if the oil supply to Britain were suddenly cut off Lord Cameron estimated it would take just three full days before law and order broke down. We rely on a particularly vulnerable system. Britain needs to seriously invest in agriculture infrastructure if we are to avoid food crisis.

This exhibition looks at different ways to incorporate agriculture into urban landscapes.

"Global warming, the financial crisis, famine, drought and overpopulation… The end is near, but don’t despair: Vooruit will save the world!

Artists and experts from different disciplines will launch proposals to save the world, put the threat in perspective or blow up the whole thing.
Well-aimed happenings, bold statements, bizarre turns, sophisticated utopias and biodegradable references."

"The work of Vito Acconci (b. 1940) deals with critical, now and then even playful aspects of identity politics – the ‘self’ as a social construct – and is characterized by self-motivated research into the relationship between artist and viewer, how individual and social space are related to one another. The extensive exhibition offers an insight into the practice that this influential artist carried-out in the 1970s, from the perspective of the role of language as a catalyzing impulse. This is thereby the center of gravity shaping Acconci’s conceptual, performance-based videos and audio works, wherein he executes an intense dialogue between his body and psyche, the ‘I’ and the ‘you’, the public and private space, in the form of stream-of-consciousness monologues. This historic, groundbreaking body of work, distinguished by an unusually psychodramatic intensity, is supplemented in this exhibition by graphic transcriptions of audio works and early poetry works. In these works the physical materialization of language is central, achieved through means of syntactical experiments and typographical permutations."

"Climate change forces us to face the consequences of our actions and overturns our world-view of endless growth and progress. Sombre predictions are no longer dismissed as apocalyptic millennial madness. Our ‘longing for the wilderness’ is put to the test by melting ice caps, acidified primeval forests, felled rain forests and endangered animal species.

Under the heading Burning Ice, the Kaaitheater will for a whole week be gathering together artists, scientists and cultural critics. They will be discussing with each other the role art might play in all this, and will also show their work."

The Mobile Academy has been on tour for seven years. It continually changes location, time, theme and form: a large-scale MA gathered 180 people together for 4 weeks for a temporally limited international imagined community (Bochum 1999/Berlin 2004), while the smallest version brought together two people - the artist and the client - for private lessons lasting one hour at public places in the city. For knowledge transfer, it can assume the character of a camp, an installation, a blind date or a marketplace.

A collection of diverse volunteers who live, work or study in Cambridge team up in pairs to discuss their city. They cut, core and peel apples to reflect the forces that shape Cambridge and it’s residents. The exhibition, at The Shop, presents the results of this community collaboration.

'Onthaasting' is a mental diversion through the use of recreation as an "escape" from the perceived unpleasant aspects of daily life. It takes place on the outskirts of contemporary life: on mountaintops, in wide-open plains, in churches, in landscapes, in gardens ... but most of all in the mind. The exhibition presents Belgian contemporary video artists within this conceptual framework.

Code magazine intends to fill the gap by offering a platform to the young contemporary creation and its actors. Code is a free magazine published by a collective of curators. It aims at introducing new forms of expression as well as to raise the interest of the public for an exciting and innovating culture.
Code is also a curatorial project. In order to offer artists the best conditions in which to present their work, Code regularly curates collective shows.

An exhibition at Yerba Buena Center for the Arts that brings together a diverse group of practitioners who combine art with cultural activism to explore questions of how we ensure sustainability for our growing urban populations. "Since our relationship with nature varies so much from one culture or locale to the next, The Gatherers provides an opportunity to explore not only the differences, but also the similarities, of their attempts to green our urban spaces. In doing so, it touches upon a broad range of interlinking matters, from environmental issues to urban spatial justice, through interactive programs, urban interventions and public dialogue."

Historical Facts, Archaeologies of the Present and Dialectics of Seeing

Belgium, Brussels

21 October 2008 - 3 January 2009.

"The media know only the here and now, that which is fleeting and carries no inner memory. They present facts over which we have no power. Interstitial Zones offers a critical space for opposition, with the work of fifteen artists and collectives that have searched inside the folds of post-war history, areas that the mass media never reveal. The politics of invisibility with which the media confront us are further expanded upon here, providing an archaeology of the present, in which the eclipse of the political and states of exception within our Western democracies are central."

‘Provo’ was a Dutch counterculture movement in the mid-1960's that focused on provoking violent responses from authorities using non-violent bait. Formed in 1965 in Amsterdam mainly younger people ventilated their thoughts through magazines, leaflets and gatherings.

The exhibition shows what artists in Flanders have generated - since the Provo movement - towards some radical social ideas and how they had to defence themselves against the censure of the established elite for safeguarding their artistic freedoms.

MEGASTRUCTURE RELOADED continues the long-term research and exhibition project Utopia Revisited, which includes workshops, symposia, publications and exhibitions throughout Europe. As well as having new artists reinterpret Utopian structures, there are the original plans and drawings by Archigram, Archizoom and Superstudio. It's located in the old Berlin Mint.

'Overcoming Dictatorships' is a framework for a two-year exchange between artists, poets and authors from various European countries about their experiences of the change from dictatorship to democracy, in particular after the opening of former communist countries since the end of the 1980s. In a number of meetings (held in the participating countries, Poland, the Czech Republic, Hungary, Romania, Italy and Germany) invited poets, writers and artists will present their work and exchange their experiences from the dictatorial/authoritarian period and show how the political changes have influenced their artistic activities.

The result will be an exhibition which will start in Birmingham (UK) and then tour the participating countries. The cultural transfer resulting from this project is meant to allow the banishment of prejudices and a better understanding between Central Eastern, South Eastern and Western Europe. Ultimately it is part of the construction of a common European culture.

In Signs of Change: Social Movement Cultures 1960s to Now, hundreds of posters, photographs, moving images, audio clips, and ephemera bring to life over forty years of activism, political protest, and campaigns for social justice. Curated by Dara Greenwald and Josh MacPhee as part of Exit Art's Curatorial Incubator Program, this important and timely exhibition surveys the creative work of dozens of international social movements.

"After Nature" surveys a landscape of wilderness and ruins, darkened by uncertain catastrophe. It is a story of abandonment, regression, and rapture—an epic of humanity and nature coming apart under the pressure of obscure forces and not-so-distant environmental disasters. Bringing together an international and multigenerational group of artists, filmmakers, writers, and outsiders, the exhibition depicts a universe in which humankind is being eclipsed and new ecological systems struggle to find a precarious balance.

An exhibition being held at the Arsenal architecture gallery in Paris. A good overview of the necessary (and exciting) sustainable building practices in a city that is experiencing redevelopment on a large scale.

INFORMAL CITIES is an exhibition and symposium that will investigate urban growth. It will focus on the fastest expanding city structures in the world: areas with no city planning or communal infrastructure. In these informal cities, legal rights are denied and citizenship is uncertain. However, organisation, work and economy in informal dwellings are developed in a complex relation to the planned city. The formal city and its economy rely heavily on its informal shadow. Informal cities keep developing and have begun to connect with one another, globally.

This "land art" exhibition takes place in Germany's largest former brown coal mining sites, located between the city of Dresden and the Polish border. Artists Rupprecht Matthies (Hamburg),Joanna Rajkowska (Warsaw) and Bertram Weisshaar (Leipzig)have all contributed site specific works.

July 19th-November 2nd, 2008
Raqs Media Collective's , co-curated portion of the nomadic biennial Manifesta 7, will be presenting an exhibition entitled "The Rest of Now" which addresses historic residues in the present tense. Set in an abandoned aluminum factory in Bolzano, Italy, the show works "to see what can be salvaged from the oblivion to which the residues of Modernism are normally consigned."

1% WATER, an exhibition running at art center Z33, aims to be a catalyst for change, reconnecting us physically and psychologically to water and helping us to shape a sustainable future.

Part of it, the Water Archive, is an aquatic 'laboratory' immersing the visitor in water samples collected from the region of Hasselt. The archive aims to provoke questions about the character of natural waters and to raise awareness of man-made issues such as pollution.

Visitors can help to complete the archive by bringing or sending water samples from their own environment. Fresh water from the euregion, Belgium and other places is welcome.

Twenty three internationally acclaimed contemporary artists have been commissioned to create new works for the first Folkestone Triennial, Tales of Time and Space, which will run from 14 June – 14 September 2008. The selected artists have responded to the invitation with proposals for artworks that engage with the Kent coastal town’s history, population, culture and built environment to create a cutting-edge contemporary art exhibition. Make sure you check out Mark Dion's Mobile Gull Appreciation Unit.

CABAN UNNOS: IT’S NOW-OR-NEVER invites artists and other participants to collaborate on building a one-night-house in Berlin during the NEW LIFE BERLIN Festival in June 2008.
The project is conceived and developed by the Sheffield-based art group No Fixed Abode.

"It is precisely at the moment where one thing becomes something else that the action gets really exciting. That’s where the exchanges happen: chemical reactions, fistfights, osmosis, infections, kisses. Surface to surface, separate entities meet and make a border. The relation changes, the border changes. One thing to count on: it will never stay the same. Given the alternating violence and richness of borders, what strategies can we develop to better work with and across them? As cultural producers, how do we navigate this territory in order to create politically relevant work?

As part of SKOL’s new summer internship, Gina Badger, Adrienne Mak, and Amy Novak are inviting proposals to participate in a six-day intensive development and creation workshop that will culminate in a collaborative exhibition. Participants in the workshops will be asked to prepare a presentation for a panel, help come up with activities and fieldtrips, and collaborate in creating the exhibition."

The workshop series will take place in Montreal from July 10 to 16; the exhibition will run from July 18 to August 14, and will be followed by a publication.

An exhibition at Kunstraum Lakeside by Ines Doujak dedicated to the neo-colonial practice of “biopiracy.” Doujak traces the routes by which natural resources from “biodiversity” regions in the southern hemisphere are appropriated and marketed by multinational corporations. If new economic Edens are unfolding here for selected enterprises, based on the exploitation of traditional knowledge in these regions, it is not without the complicity of knowledge producers in the West, such as botanical gardens, for example, whose program of investigating and preserving nature is increasingly associated with the practice of genetic modification. Ines Doujak’s installation on one aspect of economy and power under the sign of globalization pursues the question of how the aesthetic and ethical value of the “diversity of life” becomes a factor in the economic value chain, resulting in monopolies that in turn counteract multiplicity by negatively influencing the local communities on whose knowledge they are built.

‘Revolution, I Love You’ is a slogan from May ’68 that recalls the exuberance, deep desire for change and belief in the possibility of freedom illuminating a precious moment of universal revolt. The exhibition investigates 1968 as an interlude of liberty and global resistance, focussing on the interplay between the politics of the street, radical philosophy, and the explosion of creative responses in the period. It considers the modalities of the unrest across Europe against the backdrop of contrasting economic and political systems in East and West.

The exhibition Revolution, I Love You brings together works created in the immediate aftermath of 1968, more recent artistic responses to the legacy of that world-changing year, as well as current approaches to contemporary social and political struggle.

"In all parts of the world, city governments struggle to keep pace with the energy and mobility needs of their expanding populations. Tourism, migration, military conflict, and environmental disasters all keep human beings on the move. Many choose their destinations, while others are forced towards them. Our 21st century world may ride the precarious line between the temporary and the permanent, and the ecosystems plundered by our unquenchable energy needs might have the final word. "

Conducting Mobility is an online exhibition Ryan Griffis and Claude Willey collide with a carload of cultural projects, including our own FRUIT, focusing on the problems of mobility and energy.

The University of California Santa Cruz will host a three-day conference and month long series of interventionist exhibitions in May 2008. A series of exhibitions featuring the work of participating artists will run concurrently with the conference, hosted by: the Art department and the Sesnon Gallery at UCSC; the LAB, San Francisco; and the Institute of Contemporary Art, San Jose. Interruptions will foster exchange between scholars, innovative regional and international artists and curators, through panel presentations, performances and indoor and outdoor exhibitions. There will be a Wikipedia dedicated to real-time collaboration and exchange between participants. The conference will generate a publication documenting the scholarly and artistic work emerging from this event.

May 9-31, 2008
The exhibition is directly tied to the seminar, Unlearning Intolerance: Art Changing Attitudes Toward the Environment, sponsored by the United Nations Department of Public Information in cooperation with NWM and UNEP. The exhibition compliments and expands upon the perspectives presented at the Unlearning Intolerance seminar, including the connections between art, action and human security, and art as a vehicle for environmental action. The works of art to be displayed at the exhibition are creations of the seven artists participating in the Unlearning Intolerance seminar.

"The Audacity of Desperation is an art exhibition, political action, and on-going dialogue. This show confronts, expresses and unravels states of desperation. Artworks by activists, artists, enthusiasts, and very concerned people, are made in editions of 100 with the intention of free distribution to audiences. In this way, these artworks will be activated outside of the exhibition space and in domestic spaces, on bodies, clothes, bags, and in public spaces."

"Migration is a thing of all ages. Where Europeans once colonized various continents and emigrated en masse to other lands both in and beyond their own continent, movement from the opposite direction has now taken hold. Capital, goods and information circulate freely in the late-capitalist, globalized world economy. For people, however, mobility is arranged somewhat differently. Borders and territories are still the primary expression of national sovereignty, however multi ethnic populations may have become. For Europe – which permanently shifts between regulating, even attracting, and then repelling strangers – these are the outer borders, the so-called Schengenland regions.

No Place - Like Home (note the hyphen) investigates how inner and outer space, how 'we' and 'they' maintain complex relations with one another and the frictions this generates."

Argos is a Brussels based centre for art and media that was founded in 1989. Over the years the organisation has developed from a distributor of artists' video and film into a broader art centre incorporating also functions as exhibitions, screenings and events, production, conservation and preservation, publishing and the development of a public media library.

nowHere, a space where a spot becomes a place.
15 march - 25 may, 2008

nowHere, is a cabinet which invokes a dialogue on re-appropriation of the private and public domain. Through personal tags and geographies (books, movies, music, websites, drawings, mappings, photocopies, art works, ... ) it reads as a 'certain' historical relation between human, space and technology.

bolwerK considers the constructed in-between space of architect C.Kieckens, within the art space, Z33, not as a sub-art space with a curatorial reading; a cabinet as 'museum' but as a space with a personal narrative and a social meaning embedded in a neighborhood. The active use of the space for living, eating, working, sleeping implies that the cabinet is more a 'room of collection', in a live, real-time situation.

During PLACE@SPACE Marthe Van Dessel will post live from Z33, as a guest contributor on Free Soil, to connect, publish and share her discourse
with the virtual open public resources of the net.

The the conceptualization of the space as 'ongoing', work-in-progress externalizes the precarity of information, issues of copyright, authorship, knowledge production and hierarchical information networks.

At the basic democratic institution NGBK in Berlin a show is coming up this week about the use of catastrophes in relation to climate change and a discussion on who benefits from and uses or even encourages a feeling of danger. With: Ingo Vetter (SE/D), René Lück (D), Lise Skou / Nis Rømer (DK) and more, architecture by Oliver Clemens and Sabine Horlitz

"Artistic work can often be understood as research, even if its methodology is different from that of science. The exhibition "A Portrait of the Artist as a Researcher 2.0" is a plea for the recognition of the specificity of artistic research, and for the art academy as a place of free artistic research, beyond the limits of the market, beyond all academic norms – even after ‘Bologna’.

The exhibition shows a selection of works that are the result of artistic research. These works show the artist at work as a researcher, investigating the history of an art institution (Sven Augustijnen), or of cultural practices (Sonia Boyce), collecting and selecting thoughts (Herman Asselberghs), or cultural products (Jacques André), experimenting with sound (Art Jones), or image (Ina Wudtke), representing the artist as a social scientist (Jill Magid), or the philosopher as an artist (Dieter Lesage). In this way, these works comment, circle around or criticise the discourse on ‘research’ that is characteristic of the Bologna Process and interrogate the limits of its applicability for the arts.

"A Portrait of the Artist as a Researcher 2.0" will serve as a platform for a symposium on ‘artistic research’ on Friday 14 March 2008, from 14.00-20.00 in Brussels.

Updated website for Night School:
Night School is an artist commission in the form of a temporary school. The yearlong program uses the Museum as a site to engage the public. Seminars, workshops, screenings, and lectures explore thematic components addressed from the perspective of ongoing research and production, and constitute the core structure of the School. Night School draws upon a group of local and international artists, writers, and theorists to conceptualize and conduct the program, including Boris Groys, Martha Rosler, Liam Gillick, Walid Raad and Jalal Toufic, Okwui Enwezor, Hu Fang and Zhang Wei, Paul Chan, Rirkrit Tiravanija, Natascha Sadr Haghighian, Maria Lind, and Raqs Media Collective. Lectures, screenings, and conversations take place in the New Museum's theater and fifth-floor Museum as Hub space, as well as informal locations throughout the neighborhood.

The culture that we all create should not be owned or privatized by corporations. The instrumentalisation of art and culture for economic gain is an invasion of our life worlds that needs to be addressed and countered. We will produce with lust for life and dance on the graves of the bloodsuckers from the creative class and the experience economy.

The approaches used by the artists featured in Experimental Geography range from a poetic conflation of humanity and the earth to more empirical studies of our planet. In 2002, Francis Alÿs, in collaboration with Rafael Ortega, Cuauhtémoc Medina, and 500 volunteers, created a human comb to move a sand dune outside Lima, Peru. Although the actual displacement was infinitesimal, its metaphorical resonance was colossal. Creating projects that are more empirically minded, the Center for Land Use Interpretation (CLUI), a research organization, explores the nature and extent of human interaction with the earth’s surface, embracing a multidisciplinary approach to fulfilling its mission. Using skill sets culled from the toolbox of geography, CLUI forces a reading of the American landscape (which includes man-made islands, submerged cities, traffic in Los Angeles, and the broadcast antennas in the San Gabriel Mountains) that refamiliarizes the viewer with the overlooked details of their everyday experience.

A new downtown satellite space for innovative contemporary art. Ludlow 38, designed by artists Ethan Breckenridge and Liam Gillick, is located a short walk from the New Museum on the Lower East Side and in Chinatown.

The inaugural exhibition, publish and be damned is a public library consisting of over 300 international publications, assembled since 2004 by the British curators Emily Pethick (Director Showroom, London), Kit Hammonds (Curator, South London Gallery), and Sarah McCrory (curator).

GREENWASHING presents the work of 24 international artists and artist-groups whose practice suggests that the literalism embedded in old-fashioned concepts such as 'environmentalism' and 'nature' are not equipped to comprehend the ecological territory of our time. Today we negotiate an evermore urgent and pervasive ecological (and thereby cultural, political, social and economic) arena that is darkly shadowed by potentially catastrophic ecosystemic collapse. In the face of a constant bombardment of eco-economic guilt, corporate agendas and political point-scoring, what might emerge is genuine perplexity and false promises, though still possibly capable of unleashing creative change.

"Students from ten art schools from eight European countries have all worked on a common theme: the multiple relations between moving image and performance. Passage, initiated by Contour Mechelen (BEL), is the first networking event of its kind. Among the many candidates, the jury has selected thirty four talented young artists. For these, Passage provides an excellent opportunity to make their entrance on the European art scene.

It is the intention to organize this European forum every two years, centralized each time in another European country and organized by another institution as project leader."

"Mimétisme is a group exhibition probing an alternative conceptual framework for "theatricality" in the visual arts. Rather than looking at formal exchanges between theatre and the arts, this exhibition brings together works that use and critically reflect the abilities to act and to become like something else. In doing so, it leaves behind the dominant understanding of mimesis as realist pictorial representation in favour of what Walter Benjamin has referred to as the "mimetic faculty": the mind's ability to detect and appropriate similarities, to mirror others, to imitate, to immerse and to become."

Apocalypse Now: The Theater of War examines the philosophical terrain of war. Featuring images and sounds related to war and the impact war has on the human mind, the exhibition is more than a simple illustration of war. Instead it describes war as a universal idea of human antagonism, a set of languages and iconographies embedded in our everyday lives and broader social consciousness. Beyond an actual, specific conflict, it confronts its audience with the unpalatable side of humanity, the scenes and situations that resist engagement.

“How can China proceed with its ambitious project to improve living conditions for its population without exhausting the very resources needed to sustain a better life?”

This is the question that the Danish curator and architect Henrik Valeur asks with CO-EVOLUTION. The visionary exhibition shows how architects, in cooperation with researchers and planners, are helping to meet the global challenges following in the wake of China’s massive economic growth and the intended “welfare boost”. The exhibition is the result of a project involving some of the most talented young Danish architects and students and professors from four top universities in China.

If I Can’t Dance… is a rolling curatorial project based on performative practices, which departs from a spirit of open questioning and a long term enquiry with artists.
It explores how feminist thinking on all levels (social, artistic, political, theoretical, ideological or structural) is important to our cultural life.

At the initiative of bolwerK in Antwerp, we are issuing
a call for reactions to this quote by Emma Goldman in the form of a visual contribution. These will be screened at a mobile “video speakers corner”, Thursday evening, 6 December, during the Antwerp Nocturne on several public buildings.

"Green Dreams aims to shed light on the development of more than 30 years of environmentalism on the basis of artistic contributions. The retrospective view contains the implicit question of how environmentally sound action can be realised in the future in an increasingly globalised world. Artistic production relating to the issue lends itself for such a retrospective, since it does not merely remain as a commentary but in some cases also has a practical influence."

The exhibition 'Forms of Resistance' reflects on art and life and departs from four historical moments: the French Commune in 1871, the Russian Revolution of 1917, May 1968 and our world after the Berlin Wall came down (1989).

"The exhibition tells the story of art and social change through the lens of resistance and artistic desire. Ambitions for progressive social or political changes in the past 150 years are compared, selecting specific moments at which collaborations between art and activism were at their most pronounced.
From 22 September 2007 through to 6 January 2008".

In relation to BioTechnique, curator Phil Ross is organizing 'Technebiotics' :
"Part science fair, part county fair, this interactive afternoon event will feature multiple live demonstrations and do-it-yourself workshops on a wide range of biological techniques and processes. Artists, scientists and educators will demonstrate how to spool DNA, extract and cultivate stem cells, construct a home distiller or a hyrdoponic garden, hybridize plants, and more. See cutting edge laboratory equipment alongside traditional horticultural methods and enjoy hands-on interaction with each display. Technebiotics promotes the intersection of the arts, sciences, and technology in a “DIY” atmosphere, and will bring together expert knowledge and playful experimentation in this afternoon of technical flora and fauna."

NeMe is currently seeking submissions to be included in the project "In Transition Russia 2008" which is an international interdisciplinary exhibition and conference dedicated to making visible and creating dialogue about displacement as a result of war, globalization, and socio-economic, religious, race, gender and class tensions.

The exhibition is a continuation of the project initiated by Helene Black and Sheila Pinkel, "In Transition Cyprus 2006" which took place in Limassol, Cyprus in October 2006. It included the work of 87 artists from 31 countries and incorporated an opening series of lectures during the exhibition geared at creating consciousness and dialogue about global displacement.

"In Transition Russia 2008" is a NeMe project presented by the Independent Museum of Contemporary Art (IMCA) and will take place at the National Centres of Contemporary Art, Yekaterinburg and Moscow, Russian Federation between 16th October and 22nd December 2008.

A two day discussion seminar reflects on some of the issues
brought up in the exhibition Forms of Resistance. The seminar will introduce the exhibition and invite a number of artists, theorists and activists to discuss the political possibilities of the art field.

Some of the questions addressed include:
- What are possible relationships between art and political action?
- What role does aesthetics play in articulating the desire for social and political change?
- How can we interpret the political desires of previous artistic
generations today and how does it impact on our understanding of the history of art?

"In The World is My Imagination, curated by Andrea Zapp at CUBE, nine artists and collectives are exploring the model and the miniscule as an artistic interface in video, networked and interactive installations, digital sound sculptures, photography, found objects and custom built environments.

For the show, Hilary Jack has been commissioned to make a new installation. The work, entitled Tap, involves harvesting clean drinking water from an existing dripping tap (in the Ladies Toilet) which is be redirected into a reservoir and used to nourish an indoor plant. The plant in turn acts as host, feeding a myriad of miniature self propagated baby plants to which it is umbilically connected. Placed on a nest of domestic tables in the gallery the installation acts as a model and metaphor for domestic mains water systems and their satellite networks - networks currently under threat from various environmental and man made disasters such as flood, drought, sabotage and terrorist attack. The work hints at our fragility once those networks are threatened while highlighting our waste of and dependence on, one of our most precious natural resources - clean water."

"Everyday we confront spaces that don't work – from our neighborhoods and parks, to our prisons, pipelines and borders. In this exhibition and programming series, artists, scholars and activists reveal how these spaces function – and dysfunction – making way for thought and action to create just societies and spaces. Just Space(s) aims not merely to show what is unjust about our world, but to inspire visitors to consider what the active production of just space(s) might look like. The exhibition presents some of the most compelling and effective contemporary artistic and activist work linking critical theory and ethical and creative practice."

October 4 - February 17, 2008
Walker Art Center
Brave New Worlds considers the present state of political consciousness expressed through the questions of how to live, experience, and dream. Organized by Walker visual arts curators Doryun Chong and Yasmil Raymond, the exhibition of some 70 works by 24 artists from 17 countries doesn’t resort to simplistic notions of “political art.” Instead, the diverse artistic voices gathered here seek different potentials for engagement and thus collectively offer a look beyond glib expressions of globalism.

Open invitation for the Fifth Art Shanty Projects:
"Seeking people interested in participating in the design and construction of ice fishing shanty-like structures, producing projects, art, events and shows on frozen Medicine Lake in Plymouth, MN during January and February 2008.

Art Shanty Projects is a five week exhibition of science, art, knitting, karaoke, games, performances, mail, pinhole cameras, cacti and art cars. The Art Shanty Projects are part gallery, part residency and part social experiment, inspired by the tradition of ice fishing and ice fishing houses used in the Minnesota winter."

GET LOST is a collective portrait of downtown New York. Twenty-one international artists were invited to create a personal view of the city and draw a map of downtown New York, uncovering a territory that is both real and imaginary.

The exhibition traces the theories of the Situationist International in contemporary architecture and urbanism. INSTANT URBANISM creates a conceptual link with the historical show on the Situationist International at the Tinguely Museum in Basel, by drawing upon the radical propositions made by the Situationists with relation to transforming architecture and city spaces.
With a documentation of interventions and actions within urban and public spaces of the city, INSTANT URBANISM brings together the work of Lucy Orta (France), Santiago Cirugeda (Spain), EXYZT (France), Srdjan Jovanovic Weiss (Belgrade, Basel), NL architects (Netherlands) IAN+ (Italy), PPAG (Austria), amongst others.

A workshop for cultural practitioners working with modes of self-empowerment and sustainability. With this project, we will gather people who work with an awareness of how the shaping of livelihoods reflects political, economical and cultural power structures, and who, through engagement in this subject, have developed positions and strategies of criticality within their praxis. Participants from Thailand, India, England, Norway, Germany, Scandinavia and others. The workshop is held in Sparwasser, Berlin. It is open to the public. Organized by Åsa Sonjasdotter, Ulrike Solbrig and Nis Rømer

"These memorials address topics such as the invasion and occupation of Iraq, the country's slide into civil war, the deaths of soldiers and civilians, and the conflict's relation to global jihadism and the War on Terror."
The exhibition has an extensive website, discussion on monuments and even self reflexive moments on what artists can and can't do. Guess that we can generate debate when change is to much to ask.

"Solar One presents Citysol 2007, a clean-energy-powered festival that aims to inspire interest and support for local sustainability initiatives through, music, interactive art installations, games and workshops, and numerous other elements meant to both entertain and educate."

"Historically we have sought to know the world by categorizing and classifying what we see around us. There is, however, a whole universe of easily overlooked and forgotten things that remain unclassified. Once noticed, these Very Small Objects seem to exist in every niche and corner in staggering numbers and varieties. We encounter these objects every day hidden in plain sight. They fill our pockets, cabinets, and corners. They populate our environments and make our machines work. They come from our plants, our pets, and even from our own bodies.

Very Small Objects aims to address these glaring exclusions and oversights by creating a new system of classification to describe and categorize all of them, regardless of their origin or composition, within a single comprehensive system."

"The Potential Estate (2006-2009) is a collaborative research project and involves various artists who have been developing collaborative works with experimental and critical approaches on the issue of residence.

Potential Estate mixes artistic research and practice. Participants elaborate open proposals in the public space or for various institutions. Institutions are invited to collaborate and implement the project on location.

After an exploratory mission in the U.S., Belgium, a small suburban entity situated in Wisconsin – founded by their Belgian and Luxemburg ancestors, has been identified as a potential terrain for a residential-annex-exhibition-project."

A Better World
Architecture Institute Rotterdam
While the Kunsthalle chose to focus on large scale urban projects for the exhibition "Power - Producing the Contemporary City", the Architecture Institute (new director Ole Bouman) presented the inspiring "A Better World - Another Power", focusing on subversive and bottom up approaches to buildings and the urban condition.
The 4 projects/groups were Center for Urban Pedagogy (NY). (interview coming up)
Jeanne van Heeswijk and Dennis Kaspori (The Maze Corp)Foundation for Achieving Seamless Territory. FASTSantiago Cirugeda
Ends October 21

Wimby - Welcome into my backyard!
Interesting Dutch regeneration project.
For 6 years Crimson Architectural Historians and Felix Rottenberg immersed themselves in the Hoogvliet suburb, the biggest demolition project in the Netherlands and tried to transform it into a vibrant urban area, socio culturally and ecologically. Projects include School Parasites (re designed temporary classes), new parks and plans to restore the ancient tidal stream that were filled in. Many events planned for 2007.

Follydock
A competition to create spectacular follies for the Heijplaat port of Rotterdam harbour.
20 site-specific designs were chosen to be exhibited for the year of architecture. A folly is traditionally an architectural object built to purvey a concept rather than be functional.(like gardens of delight, fake ruins etc.).
They are wild - giant mushrooms, inflatable kissing clouds and portable hottubs!

"The Festival of Regions presents exclusively projects produced especially for the festival and orients itself internationally toward a contemporary concept of culture which comprises art, social research and social practices as well as links with everyday culture and interdisciplinary co-operation.

The 2007 Festival of Regions is being presented as an oversized exhibition in the public space of the focal region situated along the Pyhrn expressway in Austria. From Schlierbach Monastery to the Main Square in Windischgarsten, projects are to be found in vacated shopping centres, service stations and parking areas as well as on fields, lakes and mountain faces.

Exhibition on view at Cooper-Hewitt, National Design Museum through September 23, 2007.

"Of the world’s total population of 6.5 billion, 5.8 billion people, or 90%, have little or no access to most of the products and services many of us take for granted; in fact, nearly half do not have regular access to food, clean water, or shelter. Design for the Other 90% explores a growing movement among designers to design low-cost solutions for this “other 90%.” Through partnerships both local and global, individuals and organizations are finding unique ways to address the basic challenges of survival and progress faced by the world’s poor and marginalized."

"Europoly is a research project starting from a game questioning public and private identity of migrants coming to European countries, analyzing chance and demands coming from European Union laws. The project aim is to enlighten the reflection among the human condition in the European Union, due to the enlargement of borders and many contradictions existing within rules and matters of fact.

It is in the intention of the project to make invisible people among us more visible. Raising questions among the opportunities offered by entering the EU and the struggle to match certain requirements imposed by laws, the project doesn't intend to provide any answer or judgment, rather to remind everyone of us that behind systems of laws there are people living their everyday life."

Artangel’s first international commission transforms a 1950s library in the town of Stykkishólmur on the south west coast of Iceland. Incorporating columns of glacial waters, weather reports and rubber words into a building overlooking the ocean, US artist and Iceland resident Roni Horn’s long-term project is as a kind of lighthouse which illuminates, magnifies and reflects....

"Shrinking Cities, a three-year initiative project of Germany's Federal Cultural Foundation, seeks to expand Germany's city-planning debate - until now concentrated on questions of demolishing surplus apartments and improving residential quarters - to address new questions and perspectives.
The project also places developments in eastern Germany in an international context, involving various artistic, design, and research disciplines in the search for strategies for action."

The luggage store welcomes the chlorophyllic art of Hamburg Entwurf-direkt artists Per Schumann and Malte Zacharias. Marking their first US exhibition, they created an immersive environment in which taste and smell, sight and speech, hearing and touch are engaged through a cross pollination of disparate art practices.
Curated by: Chris Fitzpatrick, Sham Saenz and Zefrey Throwell

More than 100 Bay area artists and Friends of the Urban Forest invite you to join us at Arcadia: Artists Celebrate Trees, an exhibition and auction to be held April 23, 2007 at California Modern Gallery in San Francisco.

Arcadia is an invitational biennial event conceived by artists in 2002 as a way to make a significant contribution to San Francisco's urban ecosystem. Artists have welcomed the opportunity to transform their art into trees and enhance our city one artwork and one tree at a time.

Printed Matter presents the exhibition Group Work, together with the launch of a publication by the same name by the Chicago-based artists' collective Temporary Services.

Temporary Services presents their Aesthetic Analysis of Human Groupings, an installation consisting of words and symbols for human groupings, as well as hundreds of photos of social groupings appropriated from books and magazines, displayed throughout the exhibition space.

In conjunction with the exhibition, Group Work, the latest book in Printed Matter's Emerging Artist Publication Series will be launched. Based on a pamphlet published by Temporary Services in 2002 titled Group Work: A Compilation of Quotes About Collaboration from a Variety of Sources and Practices, this publication provides a multitude of perspectives on the theme of Group Work by practitioners of artistic group practice from 1960s to the present.

New Climates is an online exhibition of new and existing artworks responding to the relationship between art, global climate change and networked culture. New Climates takes the form of a continuously-updated and extensive video weblog.

14 artists have been selected to create short web-videos responding to the pervasive discourse and images of the climate change crisis.

Just before his death in April 2006 Allan Kaprow assisted on working on this touring exhibition about his collected work, writings, performances and more. Being central to the performance tradition and as well to many relational practices of today, the show is of both historical and contemporary interest.
His book: "Essays on the Blurring of Art and Life" is a central document on thinking about everyday life and many other topics.

the backroom is a research-oriented project that provides access to source materials which inform and support artists’ practice. Initiated in August 2005 in Los Angeles, the temporary archive includes objects, videos, magazines, photographs, ephemera, data and written anecdotes from an evolving line-up of over forty artists, filmmakers, writers and architects, from which a series of presentations and projects have developed.

Between April 15 and May 6, the project will present artworks in the Berlin districts of Mitte, Wedding and Gesundbrunnen.
It is both exhibition and an artistic/curatorial research project, with the blog making public many of the logistics of implimenting an exhibition of this kind.

11 artists including Mark Dion, Oliver Croy and Martin Kaltwasser/Folke Köbberling have been invited to reflect on the location of Berlin´s Hansaviertel from an archaeological view. The title refers to the 1957 exhibition, Die Stadt von Morgen, and will include a film programme, symposium and accompanying book.

The Sharjah Biennial 8 will present various attempts in visual arts and film that address the growing social, political and environmental challenges the world is facing due to excessive urban development, pollution, political ambitions, and the thoughtless misuse, abuse and exhaustion of natural resources.

The SocialEast research forum considers the art and visual culture of Eastern Europe from the end of the Second World War to the fall of the Berlin Wall, through collaborative projects, exhibitions and seminars. The goal of SocialEast is to encourage comparative research into the art history of the countries of Eastern and Central Europe, as well as consider wider issues in socialist visual culture.

The international exhibition ‘Revolution is not a Garden Party’ is envisaged as a tribute to the revolutionary spirit of the Hungarian Uprising and considers the resonances of social and political revolution in contemporary art.

World Factory presents over 30 international artists whose works respond to the issues and conflicts within the global “free market” economy. The outsourcing of manufacturing from “First World” to “Third World” countries causes serious impacts on both sides: pollution, displacement of populations, excessive exploitation of natural resources, and uneven development resulting in further divisions between the rich and the poor. Concurrently, the formation of a global consumerist culture is exerting significant influences on local cultures. World factories are not only producing material goods for the consumer market but are also producing a new social consciousness and mobilization. The artists in World Factory are responding to these conditions with different models and new methods of creation. Taking the form of an exhibition-in-progress, World Factory uses a variety of strategies for presentation including the overlapping phases of the gallery installation, workshops, film screenings, seminars, off-site and site-specific projects, and web-based works.

An exhibition and book, "Inventing Kindergarten" at Art Center College of Design.

"...kindergarten was based around a system of abstract exercises that aimed to instill in young children an understanding of the mathematically generated logic underlying the ebb and flow of creation. This revolutionary system was developed by the German scientist Friedrich Froebel whose vision of childhood education changed the course of our culture laying the grounds for modernist art, architecture and design."

A group exhibition that inventively explores the representation of “nature” through the perspective of networked culture. The exhibition includes works by C5, FutureFarmers, Shih-Chieh Huang, Philip Ross,Stephen Vitiello, and Gail Wight, who provocatively combine art and politics with innovative technology, such as global positioning systems (GPS), robotics, and hydroponic environments.

Not only has Hans Haacke recently set up his memorial to murdered Spartacist Rosa Luxemburg on Berlin’s Rosa Luxuemburg Platz, but he will be having a large retrospective show at the Academie Der Kunst.
It is titled “Hans Haacke : Wirklich Werke” and spans the years 1959 to 2006.
It opens on November 17 and runs until January 14.

This exhibition will combine artworks, experimental film and video, documentary material and artifacts that trace the countercultural discourse that made Brand's assertion possible: from its early manifestations in the postwar bohemian underground to its adoption as a basic principle by a new generation of artists, hackers, and activists.

Conversations Los Angeles Leiden: Nature and the City is an exhibition that offers visitors a new perspective on objects and specimens that may be familiar to them through other, more traditional display contexts. The exhibit highlights the collections of Naturalis, the national natural history museum of The Netherlands, located in the city of Leiden. Created in collaboration with the Natural History Museum of Los Angeles County

LIMINAL SPACES/ grenzraeume originated from an initiative of individual Palestinian and Israeli artists united in their opposition to the destructive dynamics and ever growing hardship and deprivation of basic civil and political rights endured by Palestinians under Israeli occupation.

An unprecedented network of artists, curators and cultural producers emerged, meeting often under difficult circumstances, despite the harsh context of ever increasing violence and the complete collapse of the political peace process.

Phantom Captain at Apexart, explores art collaboration that involves amateur groups of individuals responding to “crowdsourcing” initiatives created by artists. The term crowdsourcing refers to “user-generated content,” or outsourcing labor to armies of amateurs.

The first art project for documenta 12 was launched in an apprentice workshop in Kassel: the social sculpture, Would you like to participate in an artistic experience? by the Brazilian artist Ricardo Basbaum. A total of twenty steel objects will now be migrating through different households and meeting points on three continents, through towns and cities such as Kassel, Ljubljana, Mexico City or Dakar. They will be altered by their temporary owners, and will themselves change. They are "unreasonable, fitting-in nowhere so they pose a challenge", as Roger M. Buergel commented. The documentation of this journey will be presented in June 2007, for documenta 12.

One of the theses that the curators want to investigate is whether it, in our joint cultural heritage, is possible to find the roots of the nationalistic and xenophobic tendencies today.

The project is an interdisciplinary investigation conducted together with a number of players and thinkers in the Nordic region and the rest of the world – in dialogue with a number of historical phenomena, places, and institutions in the Nordic region. Mutual learning is in focus for the project, and our hope is that the process will result in a continued dialogue that can enrich the places and the peoples, who live and act in the project locations, and those who visit there.

Massive Change: The Future of Global Design is an exhibition that changes the way you think about design just as contemporary design is changing the way we live in the world. Design affects all aspects of our lives and holds the possibility of changing the very nature of human life itself. Massive Change is an exhibition grounded in a provocative proposition. It is a celebration of the human capacity to change the world and a call to recognize both the power and the responsibility of design.

The Under Fire exhibition and series of events are a continuation of the international discussions and publications initiated by artist and writer Jordan Crandall. Under Fire presents a discursive engagement with global militarization and political violence, incorporating perspectives from multiple disciplines to explore the contemporary organization, representation and materialization of war.

Tavares Strachan creates a solar powered freezer to preserve a 4.5 ton portion of a frozen Alaskan river. The block of ice was shipped to the Bahama's for an exhibition in July.

In this project, he suggests that opposites, or extremes, are actually necessary for each other's survival. Ice on the surface of the Arctic Regions helps to maintain the Earth's warm climate, and heat helps keep ice frozen. The gist of the project is to actually bring the frozen north and the hot tropics into contact, to demonstrate that they are contrasting halves of a single entity, and to then utilize the heat and light energy of the South to maintain the exact opposite condition of sub-zero temperatures. The first part of the project is about the conceptual notion of ice and heat as the poles of our environment; the second part is about the miracles of technology, which can use one extreme of temperature to produce the other.

Forced migration and subsequent state-inspired forms of integration which large amounts of world citizens are experiencing are at odds with the lives and liberties of the privileged. i.e. also artists, who enjoy a global world in which they are free to move around.

A wandering exhibition, “On Mobility”, initiated by Saskia Bos, De Appel in Amsterdam collaborates with a number of colleague institutions abroad. A mutating group of artists explore the tension between the nomadic existence of artists and the mobility of groups of people who do not move by their own choice.

In January 2006, UNESCO appointed Berlin as a “City of Design”, a title it now shares with Shanghai and Buenos Aries. Not by chance, “Designcity” was also the theme for the 2006 Designmai Festival. Only in its fourth year, this is Berlin’s largest and only international showcase for designers. And as it partly curated (by the organization Transform Berlin), it does not have the trade fair gloss that is common with purely commercial events. It presented not just the slick wireless communication strategies needed for “modern” life but the sometimes ugly side of the current urban condition - the problems and chaos created by the exploding global move away from rural areas.(More people live in cities now than did on the whole planet in 1960.)

The look of the show epitomized the theme, with the large interior of a formal postal train station being transformed into a “mini-city” of more than 100 projects - a higgeldy-piggeldy mix of architectonic structures, landscape gardening, vehicles, urban furniture and sound installations, with a raised Eternit designed terrace and bar, with a green belt and bookshop. There were also a number of satellite venues across town, bus tours to Berlin’s outskirts and the almost as large “Designmai Youngsters” - showcasing international up and coming newbies.

Under the title “Build or Die - Constructing Survival”, and curated by Oliver Vogt and Georg Christof Bertsch, a symposium was held addressing issues such as emergency shelter and low cost housing. A partner exhibition displayed designs sent in from university students in Mexico, Switzerland and Sweden. Resembling a DIY camping-site, the results included a hut made from beer coasters, many takes on tarpaulin and the 100 Euro house. The Ideas of homelessness was partnered with the more positive image of the Urban Nomad. The “Instant Housing” projects by Winfried Baumann could be wheeled, folded, inflated and hung, and included mod -cons such as an Airport receiver and bookshelf. The Evian bottle “Iglu” by Alexander Clos came with the coupon for the 100 bottles necessary for building it (and placing it back into the economic cycle), and A96 Architects showed off their “Folding Box House”. The “Nohotel” by Tobias Lehmannn and Floris Schiferli offered temporary accommodation by transforming vacant buildings into comfortable hotel rooms.
But as every design aficionado knows, what’s an Urban Nomad without a good set of wheels? New methods of transport included the “The Smartboard” by Airprop, a mix of scooter and skateboard, and Gewerk’s redesign for Berlin’s popular pedal-powered Velotaxis. Another bike accessory was the aptly named “Holland Relief” by Luftheke Ypenburg, a bike stand that is vandalism proof and comes with a built-in pump. Urban furniture included “The Berlinbank” designed by Thomas Schneider, which is a public bench made from skeletal wooden arms that can be moved around for new viewpoints and the Imbissbude - Berlin’s romatic take on the take-away trolley - presented by plattformnachwuchsarchitekten.

Tours included an excursion to the “Garden City Atlantis”, a modernist housing and cultural complex built in the Twenties in keeping with the ideas of Ebenezer Howard’s Garden Cities. Recently renovated by the Berlin architects BF-Studio (sadly without the former Grand Cinema and lighting), “Atlantis” is an ongoing attempt at reviving a whole area that has been neglected for decades.

The “Designmai Youngsters” took place on the other side of town in another large wharehouse on the river Spree. Many projects were tongue in cheek and showed obvious initiative by piggy-backing on the upcoming world cup. The quirky designs included a floormat shaped as an out field and a coat rack made from Table-Soccer pieces by UK designers Mixco. Another was the Nike “Play Award for Innovation in Football”, with the winner being Joerg Diessl and his “Ego Shooter”, a device that enables one to see the game from the perspective of the ball.

The amazing Ad!dictlab from Brussels are a growing collective of international designers, who create projects, workshops and magazines- their latest being based on Cultural Heritage. Their mini-exhibition entitled ‘Universal House’ showed ingenious domestic appliances such as the chopstick/fork combo and the chair–come-bag. Particularily local were the must-have accessories for Berlin’s favourite outdoor urban sport from the “World of Ping Pong Country”. Jumpers with round pockets for rackets and fold-up tables all created a unique combo for summer fun.
.
Berlin currently has over 1300 designers and growing, a Metropole chock full of what writer Richard Florida refers to as the “Creative Class”. An integral part of this year’s event was the setting up of infrastructures to keep the citie’s creative output at its peak, and for designers to be represented in a business to business capacity. New initiatives such as “Create Berlin” and the “Made in Berlin” label now aim to give the city and it’s designers a collective professional identity.
In his opening speech, Berlin’s Mayor Klaus Wowereit called the city a “hot international capital of style”. Lets hope this heat can be sustainable and sustained.

Bonnie Sherk, founder of Crossroads Community (The Farm) in San Francisco, 1974-1980. The Farm, located beneath a freeway interchange in the heart of the city, served as a series of community gathering spaces: a farmhouse with earthy and elegant environments; a theater and rehearsal space for different art forms; a school without walls; a library; a darkroom; a pre-school; unusual gardens—all providing an indoor/outdoor environment "for humans and other animals."

" ... The economic structures of the animal park are based upon tourist norms and focus on entertaining the visitors. Nevertheless, entertainment is always part of reporting and informing about research, which offers visitors the chance to visualize cultivation techniques, behaviour patterns, conservation and ecology..... "

ZOO logical garden opens August 25, 2006 and will present work from eleven contemporary artists in the Family park Harry Malter.

To many visitors Wave Hill is a utopian garden, a place to seek ideas and inspiration for their own homes. Garden Improvement offers an alternate view of the relationship between people and nature by looking at how a garden is made more inhabitable, personal, and domesticated.

Group exhibition, workshops and lectures at SPARWASSER:
Offensive for Contemporary Art + Communication

“ Through all the changes ‘something’ remains – that something is the moment…no sociological or historical determination can adequately define this temporality…its wish is to reinstate discontinuity, grasping it in the very fabric of the lived.”
-Henri Lefebvre

Since January 28 and untill April 30, 2006, the Frederick R. Weismann Art Museum is showing the results from a competition focussed on the design of affordable single-family homes and displays different models that involve some sort of sustainable technology.

Civic Matters invites artists, designers, and crafts artists from Finland, Los Angeles and Sweden to meet in Los Angeles for a cultural exchange program. Together with local artists and organizations they will address identified needs or concerns within various communities in Los Angeles and in Scandinavia.

From December 16 through February 8, the Architectural League will present an exhibition featuring the current status of planning and design efforts for Brooklyn Bridge Park. In addition to transforming the formerly industrial Brooklyn waterfront into a major public park, the planning of Brooklyn Bridge Park involves a sincere effort to reestablish elements of shoreline habitats (for bird, fish, and other species) as well as seeking to make the construction, maintenance, and functioning of the park as environmentally and socially sustainable as possible.

The Museum for Missing Places is an attempt to chart the shifting terrain of a city - Houston, Texas - through a process as fleeting as the city itself.

Using interactive, dialogue-based exhibits, the Museum proposes alternative ways of mapping a city in the context of rapid and unregulated urban change and the uncertainty of enduring architectural landmarks.

As a museum in the traditional sense, this project is about gathering, ordering and exhibiting information in various mediums and formats. What distinguishes the information of this museum is its specificity to Houston's elusive urbanism and that it's gathered through an expanding body of public surveys designed by the Museum and situated in Houston's public places.

Developments such as the new Warsaw highway and the removal of the tram system has meant that the lower town of Gdansk is now seperated from the city centre, and falling into cultural and social neglect.
This ongoing project initiated by the Laznia Centre of Contemporary Art aims to revitalise the lower town using competitions, workshops and exhibitions where architects, artists and politicians attempt to redevelop the area, especially utilising the old waterways.

FRUIT takes up the challenge of elevating the ecological knowledge of consumers and encouraging a way of life that is friendly to the environment. We want consumers to be conscious of the entire life of a product, from production to utilization, and not just what they see in the stores. Consumers must be aware that every phase of a product's life influences the environment and ourselves.

Free Soil has produced a run of FRUIT wrappers, a website, and a traveling installation as part of an initiative to inform people about alternative food systems and local food movements. The wrappers are disseminated throughout the food chain by piggybacking on oranges. Information will be carried through the food system and into the hands of consumers. The wrapper holds information on a variety of aspects concerning food movements, transport and urban farming. Get your daily dose!

"This exhibition moves away from the narrow representation of only exhibiting garden documents, to show a broad range of materials that refer to gardens as metaphors or points of departure to understand history, politics, and our relationship to nature."

Works include:
- Goshka Macuga's impersonation of Lenin including a public speech to an
art audience.
-Lali Chetwynd's restaging of an episode from the Cabaret Voltaire
-Susan Kelly's, Reading Room (inspired by Rodchenko!)

"The Project Arts Centre has commissioned ten artists to "consider the word communism, and, moving beyond a sense of impasse, suggest ways in which this term can be materialised."

TECHNORGANIC is a one-night mini-festival celebrating the autumnal equinox through the uncommon merger of new media art technologies with an emphasis on creative figurations of the natural environment.

Tactical Media Cookbook is a web project organized by Finishing School that will share data related to the practice of tactical media. TMC will present various working theories that are associated with the practice of tactical media, supply concise project recipes from various tactical media practitioners, and present a directory of tactical media practitioners.

Free Soil takes part in the 9. festival garage stralsund/germany 22 july - 13 august 2005.
Doing a project on the ecology of the baltic sea and the traces of political events stored in and around it.Garage site

More than 200 artists and activists from all over Europe and the Mediterranean are expected to meet for an hybrid academy project: FADAIAT*// BORDERLINE ACADEMY will link practices of producing art, culture and technology with current debates on movements, mobility, migration and precarity.

A two-day meeting in Weimar about new forms of art and activism hitting the global mind. What is today's space for political and artistic action? From political utopia to TV imagery to cyberspace, different kinds of 'space' have been populated in contemporary culture.

subRosa is a cyberfeminist cell of artists and activists based in several US cities that “combines art, activism, and politics to explore and critique the effects of the intersections of the new information and biotechnologies on women’s bodies, lives, and work.”

Do It stems from an open exhibition model, and exhibition in progress. Individual instructions can open empty spaces for occupation and invoke possibilities for the interpretations and rephrasing of artworks in a totally free manner. do it effects interpretations based on location, and calls for a dovetailing of local structures with the artworks themselves. The diverse cities in which do it takes place actively construct the artwork context and endow it with their individual marks or distinctions. Interview with Hans Urlrich Obrist

In 2000, The Smart Museum
commissioned new projects from artists Mark Dion, Peter Fend, and Dan Peterman, each focusing on interrelationships between particular organisms--human beings-and a specific group of sites--a museum building, a river landscape, and a university campus. The results evoke the varied scales, from the microscopic to the global, at which human actions affect the environment.

FRUIT takes up the challenge of elevating the ecological knowledge of consumers and encouraging a way of life that is friendly to the environment. We want consumers to be conscious of the entire life of a product, from production to utilization, and not just what they see in the stores. Consumers must be aware that every phase of a product's life influences the environment and ourselves.

Free Soil has produced a run of FRUIT wrappers, a website, and a traveling installation as part of an initiative to inform people about alternative food systems and local food movements. The wrappers are disseminated throughout the food chain by piggybacking on oranges. Information will be carried through the food system and into the hands of consumers. The wrapper holds information on a variety of aspects concerning food movements, transport and urban farming. Get your daily dose!